At Kung Maging sa Panaginip Mo'y Hindi rin naman Totoo
It is only through dreaming where one could truly feel free from their hardships and sufferings in life. Yet, there we are also at our most helpless and vulnerable state as multitudes of unimaginable and often unrealistic situations seem to come to life and we are not able to control them. I once dreamed of a perfect, fair and honest government where its people respect their competent leaders and they all live in peace. Unfortunately, this dream is no different from the nightmares I had before since they are all far from reality.
However, that does not stop me from believing that my dream would somehow come to life for my beloved countrymen. In line with the concept of dreams and dreaming, “At Kung Maging sa Panaginip Mo’y Hindi rin naman Totoo” tries to deploy a filmmaking technique called “Dream Sequence” which is primarily utilized to provide a short departure from the main story. Dream sequences are often presented as brief flashbacks, flashforwards, visions etc. to give emphasis or deeper context to the other scene/s.
In this piece, two “dream sequences” that reflect the emotions of fulfilment and confusion can be seamlessly heard in the middle part of the music. These dream sequences further try to give a deeper meaning and relation to the extremities of the piece.
Kathleen Nicole Cahis, Kulintang
Daniel Roi Calingasan, Banduria
Siraphob Maitreesirimongkol, Flute
Pawin Pungbua, Trombone
Phattarapoj Sawangchaeng, Viola
Jirayut Thaolipo, Double bass
Alejandro Sarriegui, Percussion
Peter Veale, Conductor